Professional Documents
Culture Documents
CROSS, Ian - Music, Mind and Evolution
CROSS, Ian - Music, Mind and Evolution
discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/224982361
CITATIONS READS
43 1,759
1 author:
Ian Cross
University of Cambridge
110 PUBLICATIONS 1,358 CITATIONS
SEE PROFILE
All content following this page was uploaded by Ian Cross on 29 October 2014.
Abstract:
The re-emergence of an evolutionary perspective on the human mind over the
last decade has resulted in the production of a range of different theories
about music's evolutionary origins. Some writers have suggested that music
has its evolutionary roots in animal 'song', while others have proposed that
music is a uniquely human behaviour. Some have argued that music is an
evolutionary 'by-product', an accident of nature that is inessential to human
survival, while others envisage music as central in the evolution of the
modern human mind. This paper briefly surveys these competing views and
suggests that a proper consideration of the relation between music and
evolution can only emerge from an understanding of music's identity in
cultural context and its manifestations in early childhood and development; it
concludes by reflecting on the nature of evidence for musical behaviours in
the archaeological record.
Key words: Evolution, development, ethnomusicology, archaeology.
Music as human behaviour
Music is a complex and universal social behaviour. Every society that we
know of has something we can recognise as "music" (Blacking, 1995, p224),
and every member of those societies is musical. Granted, in contemporary
western culture there is a sharp distinction between those few who "produce"
music and the majority who "consume" it; but the fact that the majority can
"consume" music listen to it, dance to it, and develop very strong
preferences about it suggests that even the silent majority are musical in
having the capacity to understand music.
Research in cognitive science has revealed just how complex and special are
the mental processes involved even in an act as simple as listening to music,
and the discipline of ethnomusicology has shown just how diverse but how
central music is in the different cultures of the world. Yet music, for many
people, seems to be no more than a pleasing pastime, something enjoyable yet
inessential.
However, the emergence of evolutionary psychology over the last decade has
prompted an increasing number of researchers to consider why it is that
humans have come to be musical. Some have proposed that music is just a
contingent by-product of evolution, something enjoyable but unimportant.
Others have come to the conclusion that music could have played a major role
in human evolution.
Behind human behaviours lie human minds, and behind human minds lie
embodied human brains. Accepting a materialist basis for human
behaviours, consideration of evolution's role in those behaviours seems
inescapable. But how just how much explanatory power has evolution in
respect of such a complex human behaviour as music?
It is generally agreed (outside Kansas) that our bodies are products of
evolutionary processes; humans share common and quite recent, at around
5 million years ancestry with the African great apes, and modern humans
stand at the end of a twig on the bush of primate evolution. We have come
about through the operation of the evolutionary processes of (i) random
variation, (ii) natural selection and (iii) differential reproduction. Random
variation leads to the emergence of organisms with a range of different
capacities; natural selection, operating through ecological pressures, leads to
the preferred survival of those types of organisms whose capacities are best
adapted to prevailing sets of circumstances, as these organisms that are best
adapted have a better chance of reproducing and passing on their genes than
do less well adapted organisms. These processes have left us as the only
species of human being presently to inhabit the earth.
Most people would accept that our brains, being part of our bodies, are also
understandable as products of evolution. However, many take exception to
the idea that our minds even accepting that they have a material basis in our
brains should be understood in terms of evolution, preferring to think of the
mind as being formed on the basis of our individual experiences within our
culture of origin. They reject the idea that our minds and our behaviours are
selected in and determined by our genes. In some ways this is not surprising.
The idea that our behaviours are "in" our genes appears to remove the notion
of free will, and it also seems very unlikely that we could ever account for the
complexity of all the interactions and shared ways of understanding that
make up human cultures in terms of genetic predispositions. However, the
idea that we can understand mind as a product of evolution does not force us
2
to accept an all-embracing "genetic determinism". Nevertheless, over the last
couple of decades many researchers have proposed a genetic basis for
complex behaviours such as music. Some have proposed that music is of
ancient evolutionary provenance: musicality is a capacity we share, in part,
with our primate relatives or even with birds.
3
interactions might be constrained by evolutionary forces they are not solely
determined by them. Interaction with other humans leads to shared ways of
understanding, and those shared ways of understanding those cultures
play a significant role in shaping mature perceptions and cognitions.
4
involves not just listening to but also producing patterns of sound in time,
and incorporates not just sound but action.
Why musicality ?
If this is what music is, then why should evolution have endowed us with the
capacity to do it? It seems pleasing, but not exactly essential for survival; in
some ways similar to language in using patterned sound in time, and possibly
sharing origins with language in some early hominid system that used both
sound and gesture for the communication of social information, but unlike
language in being unable to express unambiguous meaning. Nevertheless, a
good case can be made for music, or proto-musical behaviours, as being not
only useful but essential in individual cognitive development and in the
development of capacities for flexible social interaction (for a fuller account
see Cross, 1999 and Cross, in press). Music can be both a consequence-free
means of exploring social interaction and a "play-space" for rehearsing
processes necessary to achieve cognitive flexibility.
5
Music is specifically suited to the exploration of social interaction because of
its non-efficaciousness and its multiple potential meanings. For example,
each child in a group involved in a co-operative musical activity may
interpret that activity as something different yet the collective musical activity
is not threatened by the existence of potentially conflicting meanings. Music
provides for a child a medium for the gestation of a capacity for social
interaction, a risk-free space for the exploration of social behaviour that can
sustain otherwise potentially risky action and transaction.
The fact that music's significances can shift from situation to situation and
may even be simultaneously manifold also makes it helpful in the
development of a child's individual cognitive capacities. If music is about
anything, it exhibits a "transposable aboutness". And music's "transposable
aboutness" may be exploited in infancy as a means of forming connections
between different domains of infant competence such as the psychological,
the biological and the mechanical. Music, or proto-musical activity, can
sustain the emergence of a metaphorical domain, acting to create and to
maintain the cognitive flexibility that marks off humans from all other
species.
Of course, what music is for infants and children is not necessarily what
music is for mature members of a culture. Culture shapes and particularises
proto-musical behaviours and propensities into specific forms for specific
functions, as Tolbert (this issue) makes clear. The capacity for multiple
meanings that characterises proto-musical activity is likely to underpin the
social functionality of music and to contribute to, but not to determine,
musics meaning.
6
evolution see H. Papousek, 1996, Brown, 2000; Dissanayake, 2000; Tolbert,
this issue).
This proposal is not a statement of fact; it is a hypothesis, but one that seems
to fit well with the facts as known at present in psychology, biological
anthropology and archaeology. Indeed, archaeology tells us that the earliest
unambiguously musical artefact identified to date is a bone pipe found near
Wrttemberg in southern Germany; this is dated to around 36,000 BP1, and
was uncovered in a context that associates it with modern Homo sapiens
sapiens. Its date lies at the farther end of what has been called the "cultural
explosion" (Pfeiffer, 1985), the sudden efflorescence of visual art and symbolic
artefacts that marks the undoubted emergence of modern human cognitive
capacities. The archaeological record would suggest that musicality is human
and ancient; it is notable that the pipe predates almost all known visual art,
and in any case, a capacity for musicality (most likely, vocally expressed)
must predate the construction of a musical artefact, most likely by a
considerable period.
1
The "Neanderthal flute" from Divje Babe (see Kunej and Turk, 2000) would predate this by
some 9,000 years, having been dated to around 45,000 BP. But the identity of the Divje Babe
bone(s) as musical is debated; it has been proposed by D'Errico and Villa (1997) that the wear
on the bone(s) resulted from carnivore activity rather than human action. Moreover, were
this to be a musical artefact, it would be almost the only evidence from a Neanderthal context
for the production of a "symbolising" artefact; the weight of evidence suggests that it is
unlikely though possible that this was a musical instrument.
2
For a preliminary report, see http://www.mus.cam.ac.uk/~cross/lithoacoustics/
7
identifying these. The next stage in the research is to look for 'tools' bearing
these patterns of use-wear in the archaeological record; they have not been
found before, but that may well be because no-one knew what to look for.
The usefulness of having a means of identifying musical use of stone over
bone, wood etc. is that stone goes much further back in the archaeological
record; if 'flint tools' were indeed being used to produce musical sound it
might be possible to track such artefacts back into the depths of prehistory in
an attempt to make out just when the production of musical sound might
have begun.
One thing we know for certain is that music leaves few traces except in the
minds of those who engage with it. It is quite likely that the traces that it left
in our ancestors' minds still resonate in our contemporary, everyday world, in
the agility of our thought and in the complexity of our social interactions.
Without music, it could be that we would never have become human.
8
References
Blacking, J. (1976) How musical is man? London: Faber.
Blacking, J. (1995). Music, Culture and Experience. London: University of
Chicago Press.
Brown, S. (2000) The 'musilanguage' model of music evolution. In Wallin,
N.L., Merker, B. and Brown, S. (Eds.) The origins of music. 271-300.
Cambridge, MA: MIT Press,.
Cross, I. (1999). Is music the most important thing we ever did ? Music,
development and evolution. In Suk Won Yi, (Ed.) Music, mind and science,
10-39. Seoul : Seoul National University Press.
Cross, I. (in press). Music, cognition, culture and evolution. To appear in
Annals of the New York Academy of Science.
Dams, L. (1985) Palaeolithic lithophones: descriptions and comparisons.
Oxford Journal of Archaeology, 4(1), 31-46.
Dauvois, M. (1989) Son et musique palolithiques. Les Dossier
d'Archologie, 142, 2-11.
D'Errico, F. & Villa, P. (1997) Holes and grooves: the contribution of
microscopy and taphonomy to the problem of art origins. Journal of Human
Evolution, 33(1), 1-31.
Dissanayake, E. (2000). Antecedents of the temporal arts in early mother-
infant interactions. In Wallin, N.L., Merker, B. and Brown, S. (Eds.) The
origins of music, 389-407. Cambridge, MA: MIT Press..
Feld, S. (1982). Sound and sentiment: birds, weeping, poetics and song in
Kaluli expression. University of Pennsylvania Press. Philadelphia.
Keil, F. C. (1994) The birth and nurturance of concepts by domains: the
origins of concepts of living things. In Hirsh, L. A. and Gelman, S. A., (Eds)
Mapping the mind: domain specificity in cognition and culture, 234-252.
C.U.P.: Cambridge.
Kunej, D. & Turk, I. (2000) New perspectives on the beginnings of music:
archaeological and musicological analysis of a Middle Paleolithic bone 'flute'.
In Wallin, N.L., Merker, B. and Brown, S. (Eds.) The origins of music, 234-268.
Cambridge, MA: MIT Press.
Lawson, G., Scarre, C., Cross, I. and Hills, C. (1998) Mounds, megaliths, music
and mind: some reflections on the acoustical properties and purposes of
archaeological spaces. Archaeological Review from Cambridge, 15 (1), 111-
134
Marler, P. (2000) Origins of music and speech: insights from animals. In
Wallin, N.L., Merker, B. and Brown, S. (Eds.) The origins of music, 31-48.
Cambridge, MA: MIT Press.
Merker, B. (2000). Synchronous chorusing and human origins. In Wallin,
N.L., Merker, B. and Brown, S. (Eds.) The origins of music, 315-328.
Cambridge, MA: MIT Press.
Miller, G. F. (1997). Protean primates: the evolution of adaptive
unpredictability in competition and courtship. In Whiten, A. and Byrne, R.
W., (Eds.) Machiavellian Intelligence II: extensions and evaluations, 312-340.
Cambridge: CUP.
Miller, G. (2001). The mating mind: how sexual choice shaped the evolution of
human nature. London: Vintage/Ebury.
Mithen, S. (1996) Prehistory of the mind. London: Thames & Hudson.
Papousek, H. (1996). Musicality in infancy research: biological and cultural
origins of early musicality. In Delige, I. and Sloboda, J. A., (Eds.) Musical
beginnings, 37-55. Oxford: OUP.
Papousek, M. (1996). Intuitive parenting: a hidden source of musical
stimulation in infancy. In Delige, I. and Sloboda, J. A., (Eds.) Musical
beginnings, 88-112. Oxford: OUP.
Pfeiffer, J. E. (1985). The creative explosion: an inquiry into the origins of art.
Cornell University Press: Ithaca, N.Y.
Pinker, S. (1994) The language instinct. Allen Lane: London.
Pinker, S. (1997) How the mind works. . Allen Lane: London.
Spelke, E. (1999). Infant cognition. In . R. A. Wilson, R. A. and Keil, F. C.,
(Eds.) MIT encyclopedia of cognitive sciences, 402-404. Cambridge, MA: MIT
Press.
Tolbert, E. (2000) Music and meaning: an evolutionary story. (this issue)
Trehub, S. E., G. Schellenberg & D. Hill. (1997). The origins of music
perception and cognition: a developmental perspective. In Delige, I. and
Sloboda, J. A., (Eds.) Perception and cognition of music, 103-128. The
Psychology Press. Hove.
Trevarthen, C. (1999). Musicality and the intrinsic motive pulse: evidence
from human psychobiology and infant communication. Musicae Scientiae,
Special Issue. 155-215.
Tuohy, S. (1999) The social life of genre: The dynamics of folksong in China.
Asian music: Journal of the Society for Asian Music, 30 (2), 39-86.
Waller, S. J. (1993) Sound and rock art. Nature, 363, 501.
Watson, A. and Keating, D. (1999) Architecture and sound: an acoustic
analysis of megalithic monuments in prehistoric Britain. Antiquity, 73, 325-
36.
Yang, M. (1994) On the hua'er songs of north-western China. Yearbook for
Traditional Music, 26, 100-116.
10